Mau P at EBC at Night

A dedicated Mau P residency at EBC at Night has not been officially confirmed yet. Vegas residency calendars shift constantly, so we keep this page live so you can stay on top of announcements the moment they drop. EBC at Night runs an open-air daytime schedule from roughly March through October, with dates added each week.

In the meantime, here's what we know: Mau P is an active tech house artist currently holding Vegas residencies at XS Nightclub, Encore Beach Club. You can already catch Mau P at any of those rooms — check the confirmed dates using the links below and sign up for the NoCoverVegas guest list to lock in free entry.

EBC at Night is worth visiting regardless of the specific lineup. The room has a reputation for booking the biggest names in tech house and rotating residents, so even on nights when Mau Pisn't behind the decks, you can expect a production-level experience with a full sound system, visual rig, and the same guest list rules in place. Our team will update this page the instant a confirmed Mau P date at EBC at Night lands on the public calendar.

Maurits Jan Westveen was born October 26, 1996 in Amsterdam-Noord, the post-industrial district north of the IJ waterway that was undergoing significant gentrification during his childhood — former shipyard terrain being converted into creative studios and underground club spaces that would become formative environments for a generation of Dutch producers. His family home near the Nieuwendam harbor district was a musical household: piano, acoustic guitar, and a drum kit were available from early childhood, and he absorbed rhythm and structure through playing before he encountered electronic music production as a discipline. The Amsterdam electronic music environment — anchored by institutions like Shelter (a converted submarine bunker beneath the A'DAM Tower), DGTL Festival at NDSM Wharf, and the canal-boat techno parties that defined the city's underground scene in the mid-2010s — formed his aesthetic sensibility before he began releasing music. His initial commercial output as Maurice West between roughly 2017 and 2021 produced several releases in the big-room house and Dutch EDM style that dominated international festival bookings at that time. Tracks including Lost Without You (featuring vocalist Jess Ball), Can You Feel It, and a series of festival-aimed records earned him opening slots at Dutch club nights and regional festival appearances — sufficient commercial momentum to establish a professional DJ career but insufficient to distinguish him within a European market saturated with producers making functionally identical big-room material. In interviews given after his rebrand, Westveen described the Maurice West period as a time of growing creative constriction: the genre's commercial requirements — specific BPM ranges, predictable drop structures, radio-friendly melodic templates — were pulling his output further from the warehouse-oriented, percussion-heavy underground house that he was personally consuming as a listener. The decision to rebrand as Mau P in 2022 was accompanied by a specific production strategy: rather than transitioning gradually between genres, he completed Drugs From Amsterdam — a fully realized tech house track built around a distorted low-frequency bassline, rolling hi-hat patterns at 128 BPM, and a vocal sample engineered for maximum dancefloor functionality — and submitted it directly to Repopulate Mars, the Los Angeles-based tech house imprint founded by Lee Foss in 2012. Foss, whose own production work had defined the premium end of the tech house spectrum, recognized the track's Beatport potential immediately and released it on August 19, 2022. The track climbed to number one on Beatport's main chart within days of release — a first-single result that typically takes artists multiple years and a substantial back catalog to achieve — and accumulated nearly 200 million streams across Spotify, Apple Music, and YouTube over the following twelve months. The Beatport debut was not a gradual rise but an immediate arrival: the track spent multiple consecutive weeks in the top position, demonstrating that the audience for Repopulate Mars's style of tech house was ready for a producer whose sound represented a specific evolution of the genre's possibilities. The festival cascade that followed the Beatport success compressed into approximately 24 months what career trajectories in electronic music typically require six to eight years to achieve. Tomorrowland 2023 booked him on the Freedom Stage in Boom, Belgium — a placement that reflected the hybrid territory his music occupies between commercial festival EDM and true underground club culture. His EDC Las Vegas 2023 appearance on the Cosmic Meadow Stage brought him to the same city where his 2026 Wynn Nightlife residency would be announced the following year. Coachella 2024 followed. Each festival booking accelerated the next, following the asymmetric acceleration pattern of Beatport-led careers whose chart presence generates festival interest that generates radio attention that returns more Beatport buyers. The velocity of his trajectory — from Beatport debut in August 2022 to Coachella booking in 2024 — is among the fastest documented in the tech house genre, where chart success at Beatport typically requires more lead time before festival programmers incorporate an artist into their primary stage schedules. BEATS FOR THE UNDERGROUND, his debut album released in April 2024, deliberately resisted the streaming-playlist optimization that most electronic music albums pursue. The 10-track release was formatted for DJ deployment rather than passive listening: extended intros, rolling structures without conventional song format, and production decisions — specific reverb depths, compressor settings on the kick drum — that only translate correctly on a speaker system capable of reproducing sub-bass below 60 Hz at performance volume. The title encodes the release philosophy explicitly: music made for speaker systems, not headphones. Subsequent singles including Metro (with Kevin de Vries, cited by Billboard as one of the best dance tracks of 2023), Gimme That Bounce, Dress Code, and Your Mind Is My Playground maintained his Beatport chart presence without repeating the template of Drugs From Amsterdam — each track demonstrating a distinct approach within the tech house framework while retaining the production coherence that makes sequencing from one track to the next feel intentional rather than arbitrary. XXX Radio, his weekly SiriusXM broadcast on the Electric Area channel, launched in February 2023 and airs on Thursdays. The two-hour format alternates between his own selections and guest mixes from artists within the tech house and melodic techno ecosystems — a radio infrastructure that functions as between-tour audience maintenance. DJ Mag's annual Top 100 DJs poll placed him at number 91 in his 2024 debut entry — the highest first-year entry among tech house acts in that poll cycle — climbing to number 77 in 2025, a 14-position advance that reflects genuine audience growth rather than a single viral cycle. Wynn Nightlife added him to their 2025 residency roster and extended into 2026, making him one of the youngest artists in the tech house genre to secure a booking at that tier of the Las Vegas market. His confirmed 2026 dates include EDC Week Wednesday May 13 at EBC at Night (sold out via Front Gate Tickets), Memorial Day Weekend Friday May 22 at Encore Beach Club, and July 4 Saturday at XS Nightclub — the highest-demand single night of the Las Vegas summer calendar. At XS Nightclub, his tech house sets deploy the 128 BPM four-to-the-floor architecture and distorted sub-bass grooves that his productions established as his signature — the Funktion-One sound system at XS reproduces the low-frequency content of his tracks with the physical presence that smaller club systems cannot achieve. At Encore Beach Club, the open-air dayclub context shifts his set structure toward the more accessible end of his catalog, with the afternoon-into-evening transition giving his productions a different character than the late-night peak-time context of XS. Guest list through NoCoverVegas for Mau P at XS Nightclub and Encore Beach Club provides free entry for qualifying guests, with advance registration essential for his July 4 and EDC Week bookings, which sell out faster than almost any other date in the Wynn Nightlife calendar. Source: en.wikipedia.org/wiki/Mau_P, electronic.vegas/artist/mau-p/, wynnsocial.com, edcweek.frontgatetickets.com His approach to a live set at XS Nightclub differs fundamentally from how his studio productions read on a home speaker or at festival scale. The Funktion-One system at XS Nightclub — one of the most technically precise speaker installations in the Las Vegas club market — reproduces the sub-bass frequencies of his 128 BPM four-to-the-floor productions with physical pressure that smaller speaker systems cannot generate. When Drugs From Amsterdam's distorted low-frequency bassline plays on that system, the physical component of the listening experience operates separately from the auditory component: the bass registers in the chest and the solar plexus as a felt phenomenon rather than only a heard one. His production decisions — compressor settings, specific distortion characteristics on the kick and bass — were made with this full-range physical listening context in mind, not the bandwidth-limited reproduction of headphone or consumer speaker listening. His XS Nightclub sets follow a structure calibrated for the Las Vegas late-night peak window between midnight and 3 AM. He opens with tracks that establish the groove foundation — rolling percussion, building bass pressure, rhythmic patterns that orient the crowd without demanding immediate physical response — and builds across the first hour through increasing bass weight and layering, holding the structural template of Drugs From Amsterdam's approach (accumulation toward drops calibrated for simultaneous full-room physical response) without repeating the same track dynamics. The BEATS FOR THE UNDERGROUND album production philosophy governs the sequencing: each track earns its timeline slot through its relationship to what precedes and follows it, not through standalone peak-moment optimization. His Encore Beach Club daytime sets and EBC at Night programming follow different structural logic: the afternoon outdoor context requires tracks that work in natural light and open air at lower listening intensity, while EBC at Night — the late-evening poolside programming that Wynn operates as a transition format between dayclub and nightclub — occupies its own structural territory between the two. His EDC Week EBC at Night slot on May 13, 2026 sold out faster than comparable dates in the Wynn calendar precisely because EDC week concentrates the international tech house and electronic music audience in Las Vegas during the same five-day window. Festival-goers who attend EDC Las Vegas (May 15–17) at Las Vegas Motor Speedway arrive in the city several days early and build pre-festival programming around Wynn bookings, convention center events, and the dayclub and nightclub calendar that the city assembles specifically for the influx. A Mau P EBC at Night booking on the Wednesday before EDC opens places him in front of the most electronically sophisticated audience assembled in Las Vegas during the full calendar year — listeners who will spend the subsequent weekend at a festival where his contemporaries headline the same stages he played a year earlier. His trajectory since the Drugs From Amsterdam debut in August 2022 through the 2026 Wynn residency represents one of the most precisely documented acceleration curves in recent tech house history: Beatport debut at number one, Tomorrowland booking within twelve months, Coachella within twenty-four months, Wynn headliner residency within thirty-six months. The speed of that curve is attributable to the specific commercial ecosystem of Beatport, where chart position is visible to festival programmers globally and a number-one debut on the main chart is more commercially legible to international booking agents than equivalent streaming numbers on Spotify or Apple Music, which are shared across genres and harder to translate into booking decisions for niche electronic music events. His XXX Radio SiriusXM show, now entering its fourth year, maintains between-tour audience connection — a weekly presence that keeps his name active in the attention of listeners who might otherwise encounter his catalog only through festival discoveries. The distinction between his EBC at Night slot and his XS Nightclub dates reflects the different programming functions Wynn deploys for different timing and crowd compositions. EBC at Night — the late-evening poolside format that transitions between the afternoon dayclub and the interior nightclub — draws a crowd that has already been at EBC for the afternoon session and is not yet ready to commit to XS's interior nightclub environment. The intermediate outdoor-nighttime context requires a tech house approach that works in the cool of a Las Vegas summer evening with the pool as backdrop: builds and drops that function in the ambient acoustic environment of the outdoor pool area rather than the controlled Funktion-One system of XS's interior. His July 4 XS Nightclub booking represents the peak-demand context: Independence Day Saturday at the Strip's most premium nightclub, alongside Wynn's other holiday headliners, filling XS to its 3,000-person capacity with the Las Vegas July 4 crowd that combines domestic tourists, international visitors, and the tech house audience that specifically targets his Las Vegas residency dates. For guests attending his Las Vegas performances who are familiar with his studio work through streaming, the physical gap between headphone listening and nightclub experience reveals itself immediately at XS or EBC. His production decisions — made with specific speaker systems and room acoustics in mind — communicate differently at club volume than they do on consumer playback. The distortion character on the kick drum and bass in Drugs From Amsterdam exists specifically to survive the frequency saturation of a Funktion-One system running at XS's peak volume without losing definition. His decision to avoid reverb-heavy processing on the low end is audible in the way bass tracks cut through the room rather than blooming — a production philosophy that translates into a physical sensation on the dancefloor that streaming cannot approximate. For first-time attendees unfamiliar with tech house's specific production aesthetic, his XS Nightclub set provides the most technically optimal introduction available: the correct speaker system, the correct acoustic environment, and the correct time window (his peak-time slots between midnight and 3 AM) for the genre's specific rewards.

Vegas nightlife can be expensive, but it doesn't have to be. The NoCoverVegas guest list gets you into EBC at Night to see Mau P completely free — no cover charge, no ticket purchase, no hidden fees.